---
title: "WALL·E"
year: 2008
kind: "film"
canonical: "https://film.one/film/walle"
fi1m_id: "walle"
imdb_id: "tt0910970"
tmdb_id: 10681
wikidata_id: "Q104905"
fi1m_score: 92
critics_score: 88
critics_reviews: 20
published: "2026-09-15"
updated: "2026-09-27T08:11:24.997900+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# WALL·E (2008)

Directed by Andrew Stanton · 1h 38m · MPA G · Animation, Family, Science Fiction

## Identity

WALL·E

- **Canonical:** https://film.one/film/walle
- **Type:** Film
- **Fi1m ID:** walle
- **IMDb ID:** tt0910970
- **TMDB ID:** 10681
- **Wikidata ID:** Q104905
- **Same entity:** https://www.imdb.com/title/tt0910970/, https://www.themoviedb.org/movie/10681, https://www.wikidata.org/wiki/Q104905

**Fi1m score: 92** · Critics 88 from 20 reviews

*In a sentence:* A robot learns about romance from a musical and proves a surprisingly attentive pupil

> Andrew Stanton’s robot romance is funny, patient and moving enough to make its environmental warnings feel personal. The later action is less distinctive, but we would recommend it even to people who think animation is not for them.

## Synopsis

WALL·E (voiced by Ben Burtt) is a robot who has spent 700 years doing the job he was built for. His existence is lonely, but footage from *Hello, Dolly* gives him an idea of what companionship might mean. Then he meets EVE (Elissa Knight), another robot, and begins to hope for a relationship of his own. Set in a future shaped by consumption and technology, Andrew Stanton’s animated science-fiction film follows their courtship with little spoken dialogue. Around them, a story about the natural world and humanity’s habits develops, with Jeff Garlin voicing the Captain and Sigourney Weaver the Ship’s Computer.

## Review

*WALL·E* earns its tenderness by taking a lonely robot seriously, and we would recommend it without needing to know anyone’s age. Director and co-writer Andrew Stanton gives the early stretch time to establish what WALL·E does, what catches his attention and what he lacks. There is little spoken dialogue to tell us how to feel about him. For a family science-fiction film, it is a welcome degree of trust in the audience.

Ben Burtt supplies WALL·E’s voice, with Elissa Knight as EVE, and their exchanges make a good case for saying less. The small variations in their robot sounds do work that a page of explanations would only spoil. We hear eagerness, caution and the effort of making oneself understood, all without losing the sense that these are machines. The courtship gives Stanton and fellow screenwriter Jim Reardon’s story a clear purpose even when almost nobody is speaking.

We were moved more than we expected by WALL·E watching *Hello, Dolly* and wanting a romance of his own. There is something disarmingly ordinary about learning what closeness might look like from people in a film. The musical footage makes that wish visible without requiring a speech about loneliness. It also gives the romance a slightly awkward, second-hand quality that keeps the sweetness from becoming too tidy.

The cinematography credits belong to Danielle Feinberg, Martin Rosenberg and Jeremy Lasky, and the early images establish the isolation with little need for explanation. WALL·E’s small presence within that richly detailed future is enough to make the surroundings feel lonely. Ralph Eggleston’s production design gives the film’s two worlds distinct characters, so the change of setting does not require a lecture. There is plenty to inspect, but the detail never makes us lose track of the robot we are following.

Stephen Schaffer’s editing is especially good at leaving room for a reaction, rather than treating every pause as a problem. The near-silent opening needs that patience: a joke and a moment of uncertainty can both disappear if the next image arrives too soon. Thomas Newman’s score supports the affection without making the robot voices feel incidental. Music matters here, but so does the space left for those small, expressive sounds.

The environmental warning works because Stanton has first made us care about a life being lived in this future. The satire of consumption and technology is easy to read, sometimes almost too easy. We preferred the early scenes’ patient attention to loneliness and WALL·E’s longing for the natural world. They give the warning a sadness that the broader jokes cannot quite match.

The second half is weaker, though not enough to undo the first. Once the human characters and more conventional action take up space, the film becomes busier and less surprising, and Schaffer’s pacing cannot quite disguise that change. We missed the time spent simply watching WALL·E respond to things. The romance remains persuasive, but Stanton and Reardon’s script is less distinctive when it has more people to keep track of.

At 98 minutes, it is a compact film whose quieter passages deserve every second they get. Its U certificate should not suggest that the loneliness or the prospect of a damaged natural world has been softened into nothing. Children can follow the courtship; adults may find the surroundings harder to dismiss. Give it your attention from the beginning, before the dialogue starts doing more of the work.

*Fi1m score 92, published 15 September 2026.*

## What the critics say

The reviews are strongly positive, with praise clustering around WALL·E’s near-wordless opening, expressive character animation and visual wit. Most critics find the central robot an engaging lead, able to carry both comedy and romance with little dialogue. The detailed future setting also draws admiration, while several reviews welcome the ecological concerns and satire of consumerism. For most critics, the love story gives those ideas warmth without making them less pointed.

The differences concern how well the film sustains that opening promise, rather than whether it succeeds at all. Paste finds that the later action reduces some of the early promise, while Den of Geek acknowledges a more conventional second half but still finds it emotionally satisfying. The Guardian offers a distinct reservation: it admires the invention and imagery but questions the warmth and spontaneity others celebrate. The spread runs from enthusiastic approval to qualified admiration, with no outright rejection.

## Straight answers

**Is WALL·E worth watching?**

*WALL·E* is worth watching for almost anyone, and we scored it 92. Andrew Stanton's robot romance is funny, patient and moving, told largely without dialogue and trusting the audience to read small sounds and gestures. The second half, once the human characters and conventional action arrive, is busier and less distinctive, but the opening stretch carries it.

**How long is WALL·E, and what is it rated?**

*WALL·E* runs 1h 38m and is rated G by the MPA in the US. It is an animation and family film.

**Where can I watch WALL·E in the US?**

*WALL·E* is streaming on Disney+ in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How does WALL·E compare to The Iron Giant?**

*WALL·E* and [*The Iron Giant*](https://film.one/film/the-iron-giant) are both films about a metal outsider whose smallest gestures make everything around him worth caring about, and we recommend them together. Stanton's film is the more inventive of the two, telling its romance almost wordlessly, while Brad Bird's is a boy's friendship story with adults drawn too neatly. *WALL·E* is the stronger film; *The Iron Giant* is the warmer, more conventional companion for a family evening.

**What should I watch after WALL·E?**

After *WALL·E*, try [*The Iron Giant*](https://film.one/film/the-iron-giant) (1999, Fi1m 88): Another metal outsider whose smallest gestures make the human characters worth caring about. Then [*The Red Turtle*](https://film.one/film/the-red-turtle) (2016, Fi1m 84): Patient, nearly wordless animation that lets companionship matter without explaining every feeling; and [*Silent Running*](https://film.one/film/silent-running) (1972, Fi1m 76): A more troubled science-fiction fable about caring for nature when others stop.

### Reviews we read (20)

- **RogerEbert.com**, Roger Ebert (4/4): Pixar’s WALL-E succeeds as an enthralling animated film, a visual wonderment and a decent science-fiction story that works largely without spoken dialogue. It features enchanting storytelling with ideas and a wonderful look that draws the viewer in. [Read](https://www.rogerebert.com/reviews/wall-e-2008)
- **Time Out**, Dave Calhoun (5/5): The review calls it a daring, imaginative and angry portrait of the future, praising the sharp intelligence of the detail in the near-silent first half and the wonderfully imagined world overall. [Read](https://www.timeout.com/movies/wall-e)
- **Evening Standard** (****): A masterpiece of futuristic animation and superbly witty, visually poetic family filmmaking that deserves acclaim and an Oscar. The critic singles out the appealing central character of WALL·E and the lyrical treatment of simple human moments like dancing or holding hands. [Read](https://www.standard.co.uk/showbiz/walle-family-space-odyssey-has-walltowall-robotic-fun-6913857.html)
- **Screen Daily** (91/100, inferred): The review hails WALL·E as the most ambitious and visually breathtaking Pixar film to date, praising its thoughtfulness, imagination and the expressive lead robot character. [Read](https://www.screendaily.com/wall-e/4039577.article)
- **Sight and Sound**, Andrew Osmond (91/100, inferred): The critic finds WALL·E exceptionally good and one of Pixar's best, ranking with Toy Story 2 and The Incredibles. They praise its fresh feel, lovable characters, crafted jokes and wonderful images. [Read](http://old.bfi.org.uk/sightandsound/review/4437)
- **Empire**, Olly Richards (90/100, inferred): A triumphant and ambitious Pixar film of faultless grace and breathtaking sweep that stands among the studio's best. The critic singles out the genius character of WALL·E himself and the visual wit and charm of the storytelling. [Read](https://www.empireonline.com/movies/reviews/wall-e-review/)
- **Slant Magazine**, Ed Gonzalez (4.5/5): Gonzalez praises the Criterion release as stellar, with a flawless presentation and captivating extras. He singles out the vivid, finely detailed 4K image and the abundant supplementary material. [Read](https://www.slantmagazine.com/dvd/walle-4k-uhd-review-andrew-stanton/)
- **The Hollywood Reporter**, Kirk Honeycutt (90/100, inferred): The critic praises Pixar for topping itself again with a whimsical sci-fi fantasy about robots that captures the heart, soul, and romance of the best silent movies. The visual design of the two worlds and the use of footage from Hello, Dolly! to spark WALL-E’s romantic yearnings are singled out as especially brilliant. [Read](https://www.hollywoodreporter.com/movies/movie-news/wall-e-review-2008-movie-1016979/)
- **The Independent**, Jonathan Romney (90/100, inferred): Romney praises WALL·E as Pixar’s most elegant, subtle and emotionally satisfying film, while noting that its space-adventure section is less distinctive. He singles out the nearly wordless opening and its finely observed visual expression for particular praise. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/wall-e-u-872181.html)
- **The New York Times**, A.O. Scott (90/100, inferred): The first 40 minutes are a cinematic poem of wit and beauty that gives a G-rated vision of potential extinction, while also delivering a sweet, simple love story and an earnest ecological parable. [Read](https://www.nytimes.com/2008/06/27/movies/27wall.html)
- **Los Angeles Times**, Kenneth Turan (85/100, inferred): Daring yet traditional, groundbreaking yet familiar, the film gains strength from embracing contradictions and manages to appeal broadly without insulting intelligence, full of wonder at life and animation's power. [Read](https://www.latimes.com/archives/la-xpm-2008-jun-27-et-walle27-story.html)
- **Radio Times**, Stella Papamichael (80/100, inferred): The critic describes an enchanting animated tale with genuine heart, highlighting the haunting sense of isolation in the early scenes and classic moments like the zero-gravity dance. [Read](https://www.radiotimes.com/movie-guide/b-w32a2c/walle/)
- **Total Film**, Jonathan Dean (4/5): Dean finds WALL·E brilliant for much of its running time, though its shift to busier, more conventional action weakens the film. He praises the expressive, finely detailed characterization of WALL·E, especially in the quiet early scenes. [Read](https://www.gamesradar.com/walle-review/)
- **The Guardian**, Peter Bradshaw (70/100, inferred): The critic praises the film's rich invention, textured visuals and dystopian romance but finds it overly hermetic and questions whether it amounts to more than a brilliant aesthetic exercise lacking warmth and spontaneity. [Read](https://www.theguardian.com/film/2008/jul/18/animation)
- **Den of Geek**, Seb Patrick (5/5): The critic highlights the film's groundbreaking near-silent opening half as a triumph of visual storytelling and character animation centered on the endearing robot WALL-E, while noting a shift to more conventional narrative in the second half that still delivers emotional satisfaction and pushes animation boundaries. [Read](https://www.denofgeek.com/movies/wall-e-review/)
- **/Film**, Hunter Stephenson (10/10): The critic hails WALL·E as arguably Pixar's best film and a cultural touchstone, praising the first act's wordless robot romance and sound design above all. They note the human characters slightly diminish the later sections but affirm the film's overall greatness and romantic heart. [Read](https://www.slashfilm.com/499868/movie-review-wall-e/)
- **Collider**, Steven Weintraub (90/100, inferred): The review praises WALL-E as a magical, heartfelt Pixar achievement with minimal dialogue, stunning visuals, and a deeply empathetic robot protagonist whose romance feels profoundly human. It highlights the film's economy of storytelling and emotional depth as standout elements. [Read](https://collider.com/walle-movie-review/)
- **Digital Spy**, Simon Reynolds (90/100, inferred): The critic praises WALL-E as Pixar's most ambitious and accomplished film yet for its experimental near-wordless storytelling, sharp satire on consumerism and technology, and heart-warming central love story between robots. [Read](https://www.digitalspy.com/movies/a109815/wall-e/)
- **Eye for Film**, Anton Bitel (80/100, inferred): The critic calls WALL·E critic-proof and a charming pastiche of the SF genre that appeals across ages with its romance, mayhem, cute robot and satire. They single out the rich details and nostalgic future vision for praise while noting the second half drags slightly once humans appear. [Read](https://www.eyeforfilm.co.uk/review/walle-film-review-by-anton-bitel)
- **Paste**, Robert Davis (70/100, inferred): The critic calls WALL-E a noble experiment and significant gamble for its near-wordless first half and fresh approach, singling out the poignant premise of a robot dreaming of Earth's lost natural world. It notes that the shift to action sequences later reduces some of its promise. [Read](http://www.pastemagazine.com/articles/2008/06/walle.html)

## Details

- **Director:** Andrew Stanton
- **Director:** Andrew Stanton
- **Screenplay:** Jim Reardon, Andrew Stanton
- **Cinematography:** Jeremy Lasky, Danielle Feinberg, Martin Rosenberg
- **Editor:** Stephen Schaffer
- **Music:** Thomas Newman
- **Production design:** Ralph Eggleston
- **Producer:** Jim Morris, Lindsey Collins
- **Cast:** Ben Burtt as WALL·E / M-O (voice); Elissa Knight as EVE (voice); Jeff Garlin as Captain (voice); Fred Willard as Shelby Forthright, BnL CEO; John Ratzenberger as John (voice); Kathy Najimy as Mary (voice); Sigourney Weaver as Ship's Computer (voice); Lori Alan as Additional Voices (voice)
- **Runtime:** 1h 38m
- **Certificate (MPA):** G
- **Release (the US):** 27 June 2008
- **Genres:** Animation, Family, Science Fiction
- **Production:** Pixar
- **Budget:** $180 million
- **Box office:** $521 million
- **Trailer:** https://www.youtube.com/watch?v=geplBr2fcZc

## Where to watch in the US

- Disney+: streaming, uhd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $19.99, uhd
- Apple TV: buy $19.99, hd

*Checked 2026-09-27.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2009: Best Original Score (nominated); Best Sound (nominated); Best Sound Editing (nominated); Best Writing, Original Screenplay (nominated); Best Animated Feature (won)
- Animation Kobe Theatrical Film Award 2009: Animation Kobe Theatrical Film Award (won)
- BAFTA Film Awards 2009: Best Original Music (nominated); Best Sound (nominated); Best Animated Film (won)
- Hugo Awards 2009: Best Dramatic Presentation, Long Form (won)
- Annie Award for Best Animated Feature 2008: Annie Award for Best Animated Feature (nominated)
- BAFTA Film Awards 2008: BAFTA's Children & Young People Award - Feature Film (won)
- Broadcast Film Critics Association Award for Best Film 2008: Broadcast Film Critics Association Award for Best Film (nominated)
- Critics' Choice Awards 2008: Best Animated Feature (won)
- Golden Globes 2008: Best Animated Feature Film (won)
- Los Angeles Film Critics Association Award for Best Film 2008: Los Angeles Film Critics Association Award for Best Film (won)
- National Society of Film Critics Award for Best Film 2008: National Society of Film Critics Award for Best Film (nominated)
- Nebula Award for Best Script 2008: Nebula Award for Best Script (won)
- Satellite Award for Best Animated or Mixed Media Feature 2008: Satellite Award for Best Animated or Mixed Media Feature (won)
- Satellite Award for Best Original Score 2008: Satellite Award for Best Original Score (nominated)
- Satellite Award for Best Sound 2008: Satellite Award for Best Sound (nominated)

## If you liked this

- *The Iron Giant* (1999), Fi1m 88: Another metal outsider whose smallest gestures make the human characters worth caring about — [Fi1m page](https://film.one/film/the-iron-giant.md)
- *The Red Turtle* (2016), Fi1m 84: Patient, nearly wordless animation that lets companionship matter without explaining every feeling — [Fi1m page](https://film.one/film/the-red-turtle.md)
- *Silent Running* (1972), Fi1m 76: A more troubled science-fiction fable about caring for nature when others stop — [Fi1m page](https://film.one/film/silent-running.md)
- *The Kid* (1921), Fi1m 84: Silent comedy that earns its tenderness through practical kindness and carefully timed mishaps — [Fi1m page](https://film.one/film/the-kid.md)
- *Robot Dreams* (2023), Fi1m 84: A largely wordless friendship story, attentive to the small routines of being together — [Fi1m page](https://film.one/film/robot-dreams.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/walle